Ancient art and its remains, or, A manual of the archaeology of art / By C.O. Müller.

  • Karl Otfried Müller
Date:
1852
Catalogue details

Licence: Public Domain Mark

Credit: Ancient art and its remains, or, A manual of the archaeology of art / By C.O. Müller. Source: Wellcome Collection.

    103/664
    cosmus, brass-caster, 100. [L. Stephani on Attisch. Kunstgcsch. in the Rhein. Mus. iv. S. 1.] 2. CaUimidos dura ilia quidem, sed tamen molliora quam Canachi, Cicero. Jam minus rigida Calamis, Quintilian. See above, §. 92, Lu- cian (Imag. 6) praises in his Sosandra to ^iiViA^ot, -Kevrou x.a.1 y,sx-^d6;— x,xt TO iiiaToiAi; Is kxI x,6(7fnou Tsjf dvctlio'kvig, comp. the Hetger Dial 3 Sillig C. A. p. 115. 3. Hie primus (V) nervos et venas expressit, capillumque diligentius.— Vicit Myronem pancratiaste Delphis posito.—Syracusis (fecit) claudican- tem, cujus ulceris dolorem sentire etiam spectantes videntur. Plinius xxxiv, 19. YLv^ayo^ccv vqoirov loxovvrex. pvdf/,ov x.a.1 crvf^^ir^isC; iaroxaa^oii Diog. Laert. viii. Pyth. 25. Sillig C. A. p. 399, together with Varro de L. L. V. §. 31. 113. Phidias the Athenian now appeared, an artist whose l genius was so vast and his fame so acknowledged that the works of Pericles' age were all carried on under his direction, and the entire host of artists of every kind assembled at Athens were occupied in following out his ideas. He himself 2 worked especially at colossal statues composed of gold and ivory, for the more perfect execution of which, unexampled liberality on the part of the states, and a more extended technical knowledge lent their assistance. 1. The circumstances of Phidias' life, according to the writer. Comm. de Phidise Vita I. (comp. Em. David in the Biographic Univers. xxxiv. p. 27). Born about 73. Instructed at first by native artists, probably Hegas, about 01. 80, also by the Argive Ageladas, he directed the works of Pericles from 82 or 83, completed the Pallas in the Parthenon 85 3 the Olympian Jupiter after 86. Accused by cabals against Pericles 86, 4, died m prison 87, 1. In opposition to the opinion that he was already actively employed as an artist about 73, a comparison of the time when he flourished with that of his predecessors, Critias, Pythagoras, and Galamis, affords the best evidence. Under the direction of Phidias there were, according to Plutarch, Per eA£(p«vTOf 312, 2), l^uyqtk(poi, voiKiT.rct}, ro^evrot!. UoikiT^tccI were weavers ot variegated stuffs, embroiderers, whose tapestries (^«.«^Er^<r^«r«) must not be forgotten when we wish to caU up an idea of the general ettect of those temples and ivory statues. Whether Acesas and Heli- con the Salamimans from Cyprus, who weaved so magnificent tapestries lor the Delphian ApoUo (comp. Eurip. Ion 1158) and Pallas belonged to this age? Athen. ii. p. 48. b. Eust. ad Od. i, 131. p. 1400. Rom (Cy- prian ^oi:c,y.U 6(pcc<Tf^^rc,) Plut. Alex. 32. Apostol. ii, 27. Xenob. i, 66 Ihat the embroiderers mentioned were not later than Phidias is the more probable from Plut. Alex. 32. calling Helicon the ancient in re- gard to Alexander's time. The military cloak (s^/ttJ^^*^*) of the kinjr was his work, a gift from the city of Rhodes. This art was practised in an especial manner in Phoenicia, Cyprus, and Carthage (Athen. xii p